Neely, on Greyhound, doesn’t have that problem. In the end, Zimmer could only provide the film with surface wallpaper, and couldn’t delve any deeper, because there was nowhere deeper for him to go. This was compounded by Nolan’s musical taste, which eschews any overt emotion in favor of dispassionate rhythm and texture. On Dunkirk Zimmer was, in many ways, hamstrung by his director Christopher Nolan, whose insistence on stocking his film with personality-free avatars instead of well-rounded characters gave Zimmer no-one to focus on. The difference, I think, comes from the fact that on this film Neely had a much broader range of emotional targets to hit than Zimmer did, and as such was able to create a more compelling narrative through his music. As such, it may come as something of a surprise to learn that, despite its many sonic similarities, I actually found Greyhound to be a much more satisfying musical experience. Long-time readers of this site will know that I found the score for Dunkirk to be quite terrible, for a myriad of reasons that I’m not going to repeat here. It is likely this last title that got Neely the job for Greyhound (Hanks was an executive producer), but anyone who enjoyed the broad patriotism and orchestral heroism of that score is likely to find Greyhound a very different work in fact, it has more in common with Hans Zimmer’s Dunkirk than anything else in recent memory, which may or may not be a good thing, depending on your point of view. Alongside this, Neely has also been a recurring member of Hans Zimmer’s team, conducting, orchestrating, and providing additional music on a variety of projects ranging from Pirates of the Caribbean and The Last Samurai to King Arthur, The Da Vinci Code, and The Pacific. Neely is best known these days for his work as the lead composer of The CW’s Arrowverse – including the TV shows Arrow, The Flash, Supergirl, Legends of Tomorrow, and Batwoman – which he has scored with his co-composers Nathaniel Blume, Daniel James Chan, and Sherri Chung since the project began in 2012. For Greyhound, Schneider secured the services of composer Blake Neely, who with this score is making a rare foray into mainstream theatrical movies. Greyhound is the first film director Schneider has made in over a decade, since the quirky drama Get Low from 2009, which was scored by Jan A. The film was initially scheduled to be released in cinemas in June 2020 but was delayed due to the COVID-19 pandemic, and eventually premiered straight-to-streaming on the Apple TV+ platform. The film co-stars Stephen Graham, Rob Morgan, and Elisabeth Shue, and is a classic claustrophobic cat-and-mouse naval thriller in the tradition of Das Boot, Run Silent Run Deep, and Sink the Bismarck, the latter of which was also based on a Forester novel. Hanks himself plays Ernest Krause, a commander in the United States Navy, who is charged with escorting and protecting a multi-national fleet of ships across the Atlantic, while it is under attack from Nazi German U-Boats. Forester, the creator of the great fictional British naval hero Captain Horatio Hornblower. Greyhound is a World War II action thriller directed by Aaron Schneider, and written by Tom Hanks, who adapted the novel The Good Shepherd by C.
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